Shloka 122

Adhyaya 71: पुरत्रयवृत्तान्तः—ब्रह्मवरदानम्, मयकृतत्रिपुर-निर्माणम्, विष्णुमाया-धर्मविघ्नः, शिवस्तुति, त्रिपुरदाहोपक्रमः

Devanagari script

पुत्रं पुत्रवतां श्रेष्ठं भूषितं भूषणैः शुभैः मुकुटैः कटकैश्चैव कुण्डलैर्वलयैः शुभैः

Transliteration

putraṃ putravatāṃ śreṣṭhaṃ bhūṣitaṃ bhūṣaṇaiḥ śubhaiḥ mukuṭaiḥ kaṭakaiścaiva kuṇḍalairvalayaiḥ śubhaiḥ

Translation

彼はその御子を見た—子を授かった者の中でも最勝の御子を。吉祥なる装身具により荘厳され、冠（ムクタ）、腕輪、耳飾り、そして光り輝く手輪を身に帯びていた。

Word by Word

• पुत्रं: the son

• पुत्रवतां: of those who have sons

• श्रेष्ठं: the best, most excellent

• भूषितं: adorned

• भूषणैः: with ornaments

• शुभैः: auspicious, auspiciously radiant

• मुकुटैः: with crowns/diadems

• कटकैः: with armlets/bracelets (kāṭaka/kaṭaka ornaments)

• च एव: and indeed

• कुण्डलैः: with earrings

• वलयैः: with bangles/bracelets

• शुभैः: auspicious

Speaker

Suta Goswami (narrating the Purana to the sages of Naimisharanya)

Characters & Entities

• Putra (divine son)

FAQs

What is the importance of this verse in the context of Linga worship?

It highlights śubha-lakṣaṇa (auspicious marks) and divine adornment as signs of sacred presence—supporting the puja principle that the devotee approaches the Linga with śuddhi (purity) and maṅgala (auspiciousness) through proper upacāras.

How does this verse describe the nature of Shiva (Shiva-tattva)?

By portraying an unsurpassed, auspiciously adorned divine presence, the verse points to Pati’s aiśvarya (lordly splendor) manifesting for devotees—Shiva-tattva revealing grace (anugraha) through a perceivable, auspicious form within the narrative.

What ritualistic or Yogic practice is highlighted here?

The emphasis aligns with alankāra-upacāra in Shiva-puja (offering adornments/beautification) and, at the yogic level, suggests cultivating inner maṅgala—refining the pashu (soul) toward purity while loosening pasha (bondage) through devotion and disciplined practice.